Having freed myself from the computer (I'd still use it occasionally as an FX machine) I plunged into the sound. The rudimentary sequencers of my devices (only DR-660 and ESQ-1 were capable of such a feat) didn't offer much options, but I had all I needed. Pretty soon the concepts of constant change, polyrhythms, complete temporal freedom and growth became prevalent in my music.
About at the time I began to see music as a language. The process of creation became a journey into the self. The unknown didn't have words to express itself, but I was able to perceive it. The subconscious worked itself back to myself through the senses, and I detached from the process and became an observer. The betterment of this feedback loop is a process that is still going on; to have as laminar flow as possible, and not be me, but a surrendered actor. The structure and form have changed a lot, and reflect my personal change and observations. At the time I wasn't this aware of the process, and just let go.
Tracks from the beginning to Katatonia form a compilation I had named as Pinta (Surface). Change and intuition became the main driving forces of my music. In Derivator an independently cyclical feedbacked flanger effect times the beginning of the final. All of the tracks are first takes. I didn't listen to them afterwards, and discarded everything I had done as worthless. The lengths of the tracks that were the last ones on cassettes' sides were dictated by the available space that was left.
Tracks from Todellisuus (Reality) to Alku (Beginning) form a compilation called 22. Vuosisata (23rd Century). I sent it as a demo to a couple of places, but I didn't get any feedback. The rest of the tracks were created for a friend who provided an empty cassette. In Kartan Ala (Map Area) the final groove of the A-Side of Pink Floyd's Dark Side Of The Moon Album provides the basic rhythm. I used to listen to 70s' progressive and psychedelic rock and synth music at the time.
I realized that my sound and recording system generated a lot of noise, and so for some tracks I amplified this noise immensely and created music out of it, to make the noise disappear.
This volume covers about one third of my production in 1998.
Check out www.sarana.biz or www.myspace.com/3sarana for the latest developments. Other sarana stuff can be found at the archive too.
If you have any commercial intentions contact me via my site. Note that the license allows remixing.